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Queering Happily Ever After : = Narrative Closure in Contemporary Gay and Lesbian Novels.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Queering Happily Ever After :/
其他題名:	Narrative Closure in Contemporary Gay and Lesbian Novels.
作者:	Wexler, J. M.
面頁冊數:	1 online resource (255 pages)
附註:	Source: Dissertations Abstracts International, Volume: 78-09, Section: A.
Contained By:	Dissertations Abstracts International78-09A.
標題:	American literature. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10255217click for full text (PQDT)
ISBN:	9781369562262

Queering Happily Ever After : = Narrative Closure in Contemporary Gay and Lesbian Novels.
Wexler, J. M.

Queering Happily Ever After :Narrative Closure in Contemporary Gay and Lesbian Novels. - 1 online resource (255 pages)

Source: Dissertations Abstracts International, Volume: 78-09, Section: A.

Thesis (Ph.D.)--Brandeis University, 2017.

Includes bibliographical references

This dissertation asks how the forces of closure shape the emplotment of contemporary gay and lesbian novels. Historical sanctions against homosexual relationships and the movement for gay civil rights have imposed an intense ideological charge upon the resolutions of same-sex relationships in ways that have been underexplored. I argue that same-sex love plots are caught in a catch-22 between the desire to see viable forms of "happily ever after" endings for gay and lesbian characters, and the need to avoid closures that reinscribe heteronormative values by adhering to traditional romantic conventions. Because there is no clear consensus on what would constitute a happy ending for a same-sex love plot, the question of resolution is complicated from the start. The dissertation begins by examining conventions of positive closure and the ideological stakes of the conclusional space of conventional same-sex love plots. In Chapter 1, I argue that plots are influenced by the ideologically-charged enigma of how same-sex love plots will end. In Chapter 2, I examine same-sex love plots that end with conventional happily-ever-after gestures but maintain a troubled relationship to family structures, to show how happiness does not signify in the same way for same-sex and heterosexual couples because of different ideological relationships to futurity. The final two chapters explore novels that refract meaning away from the conventionally privileged conclusional space. In Chapter 3, I examine three novels that challenge traditional resolutions of romantic happiness as future-oriented: The Last Nude (Ellis Avery, 2011), The Hours (Michael Cunningham, 2008), The Stranger's Child (Alan Hollinghurst, 2011). In Chapter 4, I discuss three novels that demonstrate the use of temporal strategies and queer fabulation to bend narrative dynamics away from the conclusional space: Plays Well with Others (Allan Gurganus, 2010), In the City of Shy Hunters (2001) and Hotel World (2001). In how they treat plot events about love, time and happiness, all six of these novels deploy structural mechanisms that exhibit what I call "queer narrative progression." I read this narrative practice through a lens determined by critiques of heteronormative versions of affect, success, kinship, and longevity. Rather than completely avoiding or moving directly toward the happily-ever-after, novels structured according to queer narrative progression participate in what Judith Halberstam calls "the queer art of failure," challenging conventional understandings of the resolving power of romance for gay and lesbian characters. Considered together, these strategies subvert end-focused textual momentum to queer the act of closure itself.

Electronic reproduction.
Ann Arbor, Mich. :
ProQuest,
2023

Mode of access: World Wide Web

ISBN: 9781369562262Subjects--Topical Terms:

523234
American literature.
Subjects--Index Terms:

ClosureIndex Terms--Genre/Form:

542853
Electronic books.

Queering Happily Ever After : = Narrative Closure in Contemporary Gay and Lesbian Novels.
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500 $a Publisher info.: Dissertation/Thesis.
500 $a Advisor: Lanser, Susan S.
502 $a Thesis (Ph.D.)--Brandeis University, 2017.
504 $a Includes bibliographical references
520 $a This dissertation asks how the forces of closure shape the emplotment of contemporary gay and lesbian novels. Historical sanctions against homosexual relationships and the movement for gay civil rights have imposed an intense ideological charge upon the resolutions of same-sex relationships in ways that have been underexplored. I argue that same-sex love plots are caught in a catch-22 between the desire to see viable forms of "happily ever after" endings for gay and lesbian characters, and the need to avoid closures that reinscribe heteronormative values by adhering to traditional romantic conventions. Because there is no clear consensus on what would constitute a happy ending for a same-sex love plot, the question of resolution is complicated from the start. The dissertation begins by examining conventions of positive closure and the ideological stakes of the conclusional space of conventional same-sex love plots. In Chapter 1, I argue that plots are influenced by the ideologically-charged enigma of how same-sex love plots will end. In Chapter 2, I examine same-sex love plots that end with conventional happily-ever-after gestures but maintain a troubled relationship to family structures, to show how happiness does not signify in the same way for same-sex and heterosexual couples because of different ideological relationships to futurity. The final two chapters explore novels that refract meaning away from the conventionally privileged conclusional space. In Chapter 3, I examine three novels that challenge traditional resolutions of romantic happiness as future-oriented: The Last Nude (Ellis Avery, 2011), The Hours (Michael Cunningham, 2008), The Stranger's Child (Alan Hollinghurst, 2011). In Chapter 4, I discuss three novels that demonstrate the use of temporal strategies and queer fabulation to bend narrative dynamics away from the conclusional space: Plays Well with Others (Allan Gurganus, 2010), In the City of Shy Hunters (2001) and Hotel World (2001). In how they treat plot events about love, time and happiness, all six of these novels deploy structural mechanisms that exhibit what I call "queer narrative progression." I read this narrative practice through a lens determined by critiques of heteronormative versions of affect, success, kinship, and longevity. Rather than completely avoiding or moving directly toward the happily-ever-after, novels structured according to queer narrative progression participate in what Judith Halberstam calls "the queer art of failure," challenging conventional understandings of the resolving power of romance for gay and lesbian characters. Considered together, these strategies subvert end-focused textual momentum to queer the act of closure itself.
533 $a Electronic reproduction. $b Ann Arbor, Mich. : $c ProQuest, $d 2023
538 $a Mode of access: World Wide Web
650 4 $a American literature. $3 523234
650 4 $a LGBTQ studies. $3 2122706
653 $a Closure
653 $a Contemporary
653 $a Endings
653 $a Narrative
653 $a Novel
653 $a Queer
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856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10255217 $z click for full text (PQDT)